It appears that the Dior house will be gaining a star creative director soon from Valentino as rumors point towards Maria Grazia Chiuri replacing the wonderfully talented Lucie Meier and Serge Ruffieux. The Christian Dior Couture fall/winter 2016-2017 show was truly spectacular, especially if it is meant to be the final piece of the duo’s portfolio with the house ever since they were elevated from Raf Simons’ underlings to cover up the gap left from the creative director’s departure, focusing on the black and white and really giving the French aspect a very attractive allure.
Moving us through the more signature shapes and silhouettes, we finally arrived at some very intricate gold and silver embroideries that were all Dior and so lovingly couture. Held at Dior’s Haute Couture Salon on 30 Avenue Montaigne in Paris, home to all of the house’s operations and ateliers, it was a spectacular performance lined with only the best in luxuries.
Of course, stars were a huge part of the show as well, taking up the first row, with Celine Dion among the revelry. We even saw Dior’s new makeup spokeswoman Bella Hadid walk the show in a plunging deep V dress in black.
It was definitely a good strategy to keep the Dior Couture fall 2016 collection devoid of colors, instead focusing on the stark and the minimal, placing focus on embellishments and design more than the color scheme. What became apparent as the show progressed was the footwear, or the lack of glamour in that department, pulling the eyes to the clothing presented on stage instead.
There was not a single heel in sight, instead giving the models a break by adorning their legs in strappy sandals that kept them grounded throughout. Of course, that was just perfect in deflecting attention from the legs and bringing it to the gorgeous sheer blouse tucked into a long pleated midi skirt or the relaxed taffeta dresses.
The concentration throughout this collection was on the full skirts and flowing tops, some with trailing trains added to the beauty of it all, all loosely based on the silhouette of the Christian Dior 1947 New Look Bar. The youthful nature of the line-up has been criticized of course, particularly as something that does not fit well in the world of the super wealthy.
Since the Swiss duo in charge here are not yet fully immersed in that particular world, it becomes rather difficult to pull together pieces that would best suit the community, while still maintaining an air of individualistic creativity. However, we must agree that there is a certain attitude about the collection that speaks of days long gone but still takes all that wealth into account, the casual manner and great style lending it some great positive feedback amongst the biting criticism.
With the Bar jacket as the principal inspiration and the minimalistic approach keeping things fresh and modern, the golden overtures peeking through here and there either muted or quite loud in the manner by which the splash of color was enthusiastically added to jackets and the hems of long skirts, it was certainly a good show.
Photos courtesy of Vogue